Considering its huge success in France and much of Europe at the time of its release, René Clément's Le Passager de la Pluie/Rider on the Rain (which also won the golden globe award for best foreign film) has been relatively forgotten. Yet, after 50 years, the film remains a highly original, captivating thriller, filled with peculiar imagery, symbolism and suspenseful mystery. Though it has some Hitchcockian influences and makes some homages to the great master of suspense, it is really a unique mystery, unlike anything made before or after it. From its moody opening sequence in the rain, to a chilling rape scene, the film develops into an idiosyncratic intrigue, that entices the viewer largely thanks to the interactions between its two magnetic main characters, played by Marlene Jobert and Charles Bronson, both on their way to become two of the most popular stars in France at the time. The two enjoy amazing chemistry, as Bronson tries by any means to get Jobert to admit that she has killed the man who raped her and Jobert does her best to outmaneuver him. Though this cat and mouse game goes on for most of the film, the viewer's attention is maintained through some interesting plot twists and imaginative dialogue that has some amusing recurring themes. The beautifully melancholic musical score by Francis Lai greatly contributes to the strangeness of it all. What makes the story particularly meaningful, however, is that the central plot is clearly an allegory for Jobert's character's subconscious and conscious struggle as a fragile, repressed and dominated young woman, who through traumatic events, manages to eventually confront her demons and assert herself. In this sense, despite the abusive treatment of her character (interestingly named Melancholy), the film is arguably well in tune with the rising feminism of the period. Marlene Jobert's superb performance is key to the film's success. She is very convincing and charming in her girlish portrayal of this modern Alice in Wonderland, effectively conveying innocence, confusion, fright, hysteria, sadness, and a range of other emotions. Meanwhile, Charles Bronson is excellent as her enigmatic pursuer and saviour, whose real motives are not clear until more than halfway through the film. Bronson, who had recently become an international star with Once Upon a Time in the West, plays his usual tough guy persona, but with more depth and intelligence than most of the roles that would follow. Ultimately, Le Passager de la Pluie works thanks to the performances of this duo, which is maybe why it is not more remembered. Unfortunately, Jobert became much less active in films from the 1980s, while Bronson became increasingly associated with a vengeful, violent persona, rather removed from the more interesting character he plays here. Incidentally, it is worth noting that the French version of the film is more satisfying that the English one, where every-one except Bronson is dubbed, mainly because the dialogue works better in its original language.

We are in the South of France, the gorgeous Mélancolie 'Mellie' Mau finds a mysterious stranger is stalking her. She is then raped by the man and after finding him still in the house after the attack she shoots him dead and throws his body into the sea. Sometime later, tough grizzled American, Col. Harry Dobbs, walks into her life and appears to know everything that has happened.

Every once in a while i come across a film that leaves me both intrigued and highly frustrated, Le Passager de la pluie is one such film. I have rated it down the middle with a 5/10 rating because i have to sit on the fence with it, it has many qualities that obviously hit the spot for many viewers, yet it's something of a chore to get through as well. Filmed as a sort of dreamy pondering piece by René Clément, the film is never less than interesting, and at times quite beautiful in texture. Just going by the user comments on IMDb it's apparent that the appearance of Charles Bronson has divided many a viewer, those proclaiming that this turn shows a depth to his acting are quite right, it does, but ultimately when his character gets mean and kicks some, it's the high point of the film, a victim of typecasting it may be, but if it ain't broke, don't fix it Charles.

Fans of Bronson macho movie heaven need not apply here, this is a different animal completely, those into art-house cinema will love the dream scape feeling on show here, René Clément knows his onions for sure, and i was personally enthralled by the performance of Marlène Jobert as Mélancolie 'Mellie' Mau, if i can get any other films she has been in then i'll be an interested viewer. Yet the film falls down for me because after an opening third that is quite brilliant, one that makes me feel that a sense of fear and dread has invaded my well being, the piece sinks into that mantra of style over substance that appears to be pandering for all genre watchers.

I'll never watch it again, but i'm strangely glad that i did catch it.